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Notes05/23/2020
Floyd
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Floyd
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40
Trauma of peripetism
I believe what I see. This is not a tragedy, because there was no coming conflict, no retarding moment, just sudden peripetite, the television of a trauma. Reality and reality drift apart like the waking state from the world of the dream. I see a surreal symbol fading away, experience the erasure of an abstract associative space. Something begins to dig into thoughts like a ghost, to uproot memories, to rearrange neurons: It has always been like this when I was a child, in painted books with pictures of cathedrals, in novels, that is, the realities of others, in the opposite bookshop on the other side of the Seine, in black and white films. That belongs to the ideal world. Now I see the people standing with their backs to the bookshop, staring, in silence, in a desperate attempt to slow down the flames, to slow down the images, to reverse the film. You want to undo it.
Well, a year later, the pictures are back. Alienated and washed out. The memory creates its own paintings. What would you expect from someone who, in memory of this trauma, creates an abstract associative space to help finance the reconstruction? Especially if it is someone like Sorcinelli, whose scents are almost always dominated by smoke. Firestorm, smouldering fire, black smoke and ashes ?
For seconds there are truly images of burning tar, which falls viscously like black greasy lava onto wood and stones, flying sparks that turn to ashes, but inside of which green spices, especially basil, with all kinds of light-coloured hesperides, begin to uproot memories again, to counteract the block of coal on the bottle and at the same time to depict the desire to create something new as quickly as possible. For a few minutes, a greenish cologne almost blows through the burning cathedral as if to counteract the heat.
Then the flowers begin to bloom, lilies of the valley meander in a mash of amber and earthy resins, determine the image for about half an hour, before a mixture of sandalwood and vetiver in combination with incense shifts the impression back into the smoky, sometimes scorched wood, the vetiver, similar to the basil from the top note a few lighter accents, incense and sandalwood the fragrance unfortunately after about four to five hours balsamic fade out.
**
Sorcinelli has chosen a comprehensible approach for my concepts. He has created a fragrance that is wearable by many people, which takes up the theme of destruction as well as the vision of the creation of something new, which offers the possibility of generating means to support restoration without having to abandon his style too much. It would have been a tremendous achievement if he had succeeded in this balancing act in such a way that he could fully reach both his loyal followers and the neutral public. For the latter this scent is certainly courageous, for some of his loyal fans maybe even a disappointment.
I think that if you put your own often quoted expectations on the back burner and try to judge the scent neutrally, a really good, interesting, partly pleasing scent with a clear development remains, which at the beginning is about arm-length, soon projects moderately to very closely and which unfortunately only lasts for a few hours.
(With thanks to Kylesa)
Well, a year later, the pictures are back. Alienated and washed out. The memory creates its own paintings. What would you expect from someone who, in memory of this trauma, creates an abstract associative space to help finance the reconstruction? Especially if it is someone like Sorcinelli, whose scents are almost always dominated by smoke. Firestorm, smouldering fire, black smoke and ashes ?
For seconds there are truly images of burning tar, which falls viscously like black greasy lava onto wood and stones, flying sparks that turn to ashes, but inside of which green spices, especially basil, with all kinds of light-coloured hesperides, begin to uproot memories again, to counteract the block of coal on the bottle and at the same time to depict the desire to create something new as quickly as possible. For a few minutes, a greenish cologne almost blows through the burning cathedral as if to counteract the heat.
Then the flowers begin to bloom, lilies of the valley meander in a mash of amber and earthy resins, determine the image for about half an hour, before a mixture of sandalwood and vetiver in combination with incense shifts the impression back into the smoky, sometimes scorched wood, the vetiver, similar to the basil from the top note a few lighter accents, incense and sandalwood the fragrance unfortunately after about four to five hours balsamic fade out.
**
Sorcinelli has chosen a comprehensible approach for my concepts. He has created a fragrance that is wearable by many people, which takes up the theme of destruction as well as the vision of the creation of something new, which offers the possibility of generating means to support restoration without having to abandon his style too much. It would have been a tremendous achievement if he had succeeded in this balancing act in such a way that he could fully reach both his loyal followers and the neutral public. For the latter this scent is certainly courageous, for some of his loyal fans maybe even a disappointment.
I think that if you put your own often quoted expectations on the back burner and try to judge the scent neutrally, a really good, interesting, partly pleasing scent with a clear development remains, which at the beginning is about arm-length, soon projects moderately to very closely and which unfortunately only lasts for a few hours.
(With thanks to Kylesa)
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